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Mirai is an intimate story of the nascent jealousy that breaks into the life of 5-year-old Kun with the arrival of her younger sister, Mirai. The more intimate, because the director based her story on observing the behavior of his own son. He introduced a magical layer to reality - Kun finds that in the garden behind the house he can travel in time - sets out to the future to meet with Mirai's teenage and past, where he meets his mother from childhood and discovers her as recalcitrant as his nature . He also meets a grandfather, a motorcycle enthusiast and a soldier. He learns that family myths are not necessarily just stories. Hosoda mixes time orders, unexpectedly moves heroes from one space to another, interweaves the creations of imagination from here and now, leads the viewer through the experiences of different generations. The director admits that his intention was to create a film absorbing what is happening around: Japanese society seems to be designed for adults, and Mirai is reminded that children are also part of it and one should not forget about them.

Mamoru Hosoda about the film
Many adults in Japan do not get married and do not decide on children, so the number of births becomes really low - today it is a social threat. I feel that everyone forgets what children look like, so I want to remind them - children exist and do not forget about them (...). Adult perception of children is such that we have to teach them everything, or that they are worse because they are not adapted to live in society. But when I spend time with children, I feel that I learn more from them, and not the other way around - as the society thinks, because they are so unspoiled. They live differently, freely, do not limit themselves to social rules or norms. Through Mirai, I wanted to remind adults that they should like to spend time with children or be like children and allow themselves more freedom. I hope that Mirai will change this perception.